National  Lead  Co 


atitjh 


Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 
Columbia  University  Libraries 


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NSUj 

https://archive.org/details/mixingdirectionsOOnati 


THE  COLOR  BLOCKS 

It  will  be  seen  that  all  the  color  blocks  are 
in  groups.  Each  group  is  a  perfect  harmony. 
In  any  group  on  pages  4,  5  and  6,  any  one  of 
the  colors  may  be  taken  for  the  body  of  the 
house  and  any  other  one  for  the  trim.  In 
most  of  the  groups  the  darkest  of  the  three 
shades  is  suitable  for  sash  or  roof,  and  in 
some  cases  for  blinds. 

Similarly,  in  the  groups  on  pages  7  and  8, 
each  two  colors  are  in  perfect  harmony.  With 
the  lighter  tint  for  a  ceiling  and  the  deeper 
tint  for  a  side  wall,  there  will  be  no  clashing 
of  colors  whatever. 

With  the  70  different  colors  shown  on  this 
folder  there  could,  of  course,  be  made  thou¬ 
sands  of  good  combinations.  No  one  who  se¬ 
lects  colors  from  this  folder  need  feel  limited 
by  the  21  combinations  shown.  The  two  ad¬ 
vantages  of  the  groupings  are  (1)  to  show 
how  the  different  colors  go  together,  and  (2) 
to  show  certain  combinations  that  are  unmis¬ 
takably  correct. 

Don’t  forget  the  white  house.  Where  the 
atmosphere  is  reasonably  free  from  dust  and 
from  the  smoke  of  railroads  or  factories,  noth¬ 
ing  else  is  quite  so  attractive  as  white.  It  is 
particularly  pleasing  on  a  house  well  set  in 
foliage,  and  it  gives  even  to  a  small  house  an 
appearance  of  increased  size.  White  is  also 
effective  as  a  trim  on  yellow,  drab  or  gray. 

WHAT  PAINT  ? 

The  best  known  paint  prescription  is  an  old 
one — simply  pure  white  lead  mixed  with  pure 
linseed  oil  and  the  necessary  color.  Nothing 
else  has  yet  been  found  to  equal  it.  Pure 
white  lead  and  linseed  oil  paint  wears  down 
slowly  and  smoothly,  so  that,  when  the  time 
comes  to  paint  again,  no  expensive  prepara¬ 
tion  is  necessary. 

It  is  one  of  the  greatest  objections  to  the 
substitutes  offered  for  pure  white  lead  paint 
that  they  leave  the  surface  so  rough  and 
lumpy  that  it  not  only  looks  bad,  but  requires 
the  use  of  the  gasoline  torch  to  smooth  it  down 
before  repainting.  This  preparatory  work  not 
only  is  dangerous,  but  it  costs  time  and 
money  which,  of  course,  must  be  added  to  the 
original  cost  of  those  substitutes  before  their 
cost  is  compared  with  that  of  pure  white  lead 
and  oil. 

Mixing— Faulty  mixing,  even  with  the  best 


1 


of  materials,  is  not  likely  to  make  durable 
paint.  Tlie  important  thing  is  to  give  the  lead 
and  oil  a  chance  to  incorporate  themselves  in 
that  close  union  which  they  always  make  if 
let  alone,  and  which  is  the  secret  of  the  supe¬ 
riority  of  white  lead  and  linseed  oil  paint  over 
all  others.  The  following  directions  give  best 
results.  The  order  is  important. 

(1)  Break  up  the  white  lead  with  the  paddle, 
using  only  enough  oil  to  bring  it  to  the 
consistency  of  colors  in  oil. 

(2)  Add  your  tinting  colors  (read  carefully 
instructions  under  heading  “Making 
the  Tints”).  Coloring  matter  added  after 
the  paint  has  been  thinned  is  likely  to 
break  up  in  lumps  which  leave  streaks 
when  brushed  out. 

(3)  Put  in  drier  (see  “Specifications,”  p.  11, 
for  quantity). 

(4)  Add  remainder  of  oil,  stirring  well  (see 

“Specifications,”  p.  11,  for  quantity  of 
oil). 

(5)  Last  of  all,  put  in  turpentine.  For  out¬ 
side  work  never  use  more  than  one  part 
turpentine  to  five  parts  oil. 

Remember  that  thinners  help  only  the  flow 
of  the  paint;  never  its  quality.  Always  put  in 
the  thinner  last. 

Making  the  Tints — The  formulas  for  making 
these  tints  are  practical,  but  a  few  cautions 
are  important. 

(1)  Make  some  allowance  for  slight  varia¬ 
tions  in  the  strength  and  tone  of  different 
makes  of  colors.  Chromes  and  ochres 
vary  noticeably.  These  formulas  are 
based  on  John  T.  Lewis  &  Bros.  Co.’s 
colors  in  oil,  a  recognized  high  standard 
brand.  If  it  is  not  possible  to  obtain 
them,  use  the  highest  grade  you  can  ob¬ 
tain  of  some  other  make  and  familiarize 
yourself  with  their  strength  and  tone. 
Cheap  colors  are  never  satisfactory. 

(2)  Weigh  out  your  color  and  add  it  gradu¬ 
ally,  not  all  at  once,  noting  the  effect  as 
you  go.  When  you  reach  the  desired 
shade,  stop,  regardless  of  what  the  for¬ 
mula  calls  for. 

(3)  Turpentine  and  dark  driers  will  slightly 
alter  shades.  Make  allowance  for  this. 

For  New  Work  Outside — Priming  Coat — 
Knots  and  sappy  streaks  should  be  shellacked 
with  grain  alcohol  shellac,  brushed  out  very 
thin.  Then  prime  with  the  following:  100 
lbs.  pure  white  lead;  6  to  7  gallons  pure  raw 
linseed  oil;  1  gallon  pure  turpentine;  \l/2  pints 
pure  turpentine  drier.  This  makes  10  to  11 
gallons  of  paint.  Where  the  lumber  has  many 
(Continued  on  page  8) 

2 


knots,  use  less  oil  and  more  turpentine;  too 
much  oil  on  the  knots  causes  the  later  coats 
to  draw  and  check. 

Second  Coat— 100  lbs.  pure  white  lead;  3]/2 
to  4 y2  gallons  pure  raw  linseed  oil;  J4  gallon 
pure  turpentine;  1  pint  pure  turpentine  "drier. 
This  makes  §x/2  to  ll/2  gallons  of  paint. 

Third  Coat — 100  lbs.  pure  white  lead;  3J4 
to  4 y2  gallons  pure  raw  linseed  oil;  1  pint  pure 
turpentine;  1  pint  pure  turpentine  drier. 

For  Old  Work  Outside — First  Coat— 100  lbs. 
pure  white  lead;  4  to  5  gallons  pure  raw  linseed 
oil;  1  gallon  pure  turpentine;  1  pint  pure 
turpentine  drier. 

Second  Coat — 100  lbs.  pure  white  lead;  3 y2 
to  A}/2  gallons  pure  raw  linseed  oil;  1  pint  pure 
turpentine;  1  pint  pure  turpentine  drier. 

In  winter  and  damp  weather  from  y  pint 
to  y2  pint  additional  japan  drier  should  be 
used. 

When  tinting  colors  are  used  sufficient  to 
alter  the  consistency  of  the  paint,  add  enough 
oil  and  turpentine  to  equal  one-half  the  weight 
of  the  tinting  material. 

Three  coats  should  always  be  applied  to  a 
surface  which  has  never  before  been  painted. 
Two  coats  are  sufficient  for  repainting  old 
work.  Two  coats  only  are  sometimes  used  on 
new  work,  for  the  sake  of  economy,  but  it  is 
not  true  economy.  A  third  coat  would  cost 
only  one-third  more  and  should  make  the  job' 
last  twice  as  long. 

Lead  and  Oil — In  these  formulas  it  is  as¬ 
sumed  that  only  pure  white  lead  and  pure 
linseed  oil  will  be  used.  One  way  to  insure 
purity  is  to  get  both  lead  and  oil  in  our  sealed 
packages,  bearing  the  “Dutch  Boy  Painter” 
trade-mark. 

Thinners  and  Driers — Use  only  pure  turpen¬ 
tine  as  a  thinner.  Do  not  use  kerosene  or 
even  benzine;  they  do  not  improve,  and  they 
may  injure  the  paint.  A  pure  turpentine  japan 
drier  is  recommended. 

THE  COLOR  FORMULAS 

To  100  lbs.  of  our  Dutch  Boy  "White  Lead  ground 
in  oil  add  colors  in  oil  as  directed. 

501 —  14  oz.  lamp  black 

502 —  1  oz.  lamp  black 

503 —  Vi  oz.  lamp  black. 

504 —  22  pounds  French  ochre 

2  pounds  lamp  black 

1  pound  Venetian  red 

505 —  2  lbs.  4  oz.  French  ochre 
9  oz.  lamp  black 

506 —  2  lbs.  4  oz.  French  ochre 
5  oz.  lamp  black 

507 —  1  oz.  lamp  black 

3  oz.  Prussian  blue 

1  lb.  1  oz.  medium  chrome  green 

508 —  Vz  oz.  lamp  black 

Vi  oz.  Prussian  blue 

509 —  V\  oz.  lamp  black 
1/5  oz.  Prussian  blue 

8 


510 —  4  oz.  lamp  black 

1  lb.  2  oz.  Venetian  red 

511 —  2  oz.  lamp  black 

6  oz.  Venetian  red 

512 —  %  oz.  lamp  black 

%  oz.  Venetian  red 

513—  7  oz.  lamp  black 

11  oz.  medium  chrome  yellow 

514 —  3  oz.  lamp  black 

5  oz.  medium  chrome  yellow 

515 —  12  oz.  French  ochre 

5  oz.  lamp  black 

516 —  31  lbs.  French  ochre 

\y2  oz.  lamp  black 

61  lbs.  English  Tuscan  red 

517 —  2  lbs.  10  oz.  Venetian  red 

518 —  14  oz.  Venetian  red 

519 —  32  lbs.  French  ochre 

1  lb.  8  oz.  lamp  black 

2  lbs.  5  oz.  Venetian  red 

520 —  2  lbs.  3  oz.  French  ochre 
ly2  oz.  lamp  black 

521 —  1  lb.  2  oz.  French  ochre 
14  oz.  lamp  black 

3/10  oz.  Venetian  red 

522 —  7  oz.  lamp  black 

54  lbs.  light  green 

2  lbs.  4  oz.  medium  chrome  yellow 

523 —  3%  oz.  lamp  black 

1  lb.  5  oz.  light  green 

2  lbs.  6V2  oz.  medium  chrome  yellow 

524 —  1  1/5  oz.  lamp  black 

1  2/3  oz.  light  green 

13  oz.  medium  chrome  yellow 

525 —  2  lbs.  lamp  black 

9  lbs.  2  oz.  medium  chrome  green 
4  lbs.  10  oz.  medium  chrome  yellow 

526— 16  oz.  lamp  black 

4  lbs.  10  oz.  medium  chrome  yellow 

527 —  14  oz.  lamp  black 

6%  oz.  medium  chrome  yellow 

528 —  6  lbs.  2  oz.  French  och»-e 

214  oz.  lamp  black 

13  oz.  Venetian  red 

529 —  2  lbs.  3  oz.  French  ochre 
%  oz.  lamp  black 

414  oz.  Venetian  red 

530 —  in  oz.  French  ochre 

3/10  oz.  Venetian  red 

531 —  1  lb.  6  oz.  lamp  black 

4  lbs.  9  oz.  medium  chrome  green 

4  lbs.  10  oz.  medium  chrome  yellow 

532 —  3  oz.  lamp  black 

14  oz.  lemon  chrome  yellow 

533 —  %  oz.  lamp  black 

214  oz.  medium  chrome  yellow 

534 —  5  lbs.  12  oz.  French  ochre 
%  oz.  Venetian  red 

535 —  2  lbs.  1  oz.  French  ochre 

536 —  7  oz.  French  ochre 

5  oz.  medium  chrome  yellow 

537— 10  lbs.  15  oz.  French  ochre 

414  oz.  lamp  black 

538 —  7  oz.  medium  chrome  yellow 
533 —  2  lbs.  1  oz.  lamp  black 

18  lbs.  10  oz.  medium  chrome  green 

6  lbs.  9  oz.  medium  chrome  yellow 
540—  6  oz.  French  ochre 

%  oz.  lamp  black 
414  oz.  Venetian  red 

9 


541 —  Indian  red  only 

542 —  12  oz.  French  ochre 

1  oz.  lamp  black 

543 —  8  oz.  French  ochre 
Yz  oz.  lamp  black 

544 —  7  lbs.  8  oz.  French  ochre 

1  oz.  lamp  black 

545 —  1  1/5  oz.  lamp  black 

2  oz.  medium  chrome  green 
5  oz.  medium  chrome  yellov 

546 —  2/10  oz.  lamp  black 
3/10  oz.  Prussian  blue 

2/10  oz.  lemon  chrome  yellow 

547 —  2  oz.  lamp  black 

4  oz.  Venetian  red 

9  oz.  medium  chrome  yellow 

548 —  1  lb.  1  oz.  French  ochre 

5  oz.  lamp  black 
4/10  oz.  Venetian  red 

549 —  5  oz.  French  ochre 

8  oz.  medium  chrome  yellow 

550 —  2  lbs.  12  oz.  French  ochre 

3  oz.  lamp  black 

551 —  8%  oz.  French  ochre 
1%  oz.  lamp  black 

552 —  1  oz.  medium  chrome  yellow 

553 —  %  oz.  lamp  black 

4  oz.  medium  chrome  yellow 
4%  oz.  lemon  chrome  yellow 

554 —  4  oz.  lamp  black 

12%  oz.  medium  chrome  yellow 
2  lbs.  1  oz.  medium  chrome  green 

555 —  1  oz.  Prussian  blue 

Yz  oz.  lemon  chrome  yellow 

556 —  1  oz.  lamp  black 

2  oz.  medium  chrome  yellow 
1  oz.  Prussian  blue 

1  lb.  1  oz.  medium  chrome  green 

557 —  3/10  oz.  lamp  black 

3  3/10  oz.  medium  chrome  yellow 

1  lb.  3/10  oz.  lemon  chrome  yellow 

558 —  2  lbs.  15  oz.  French  ochre 

559 —  4/10  oz.  Prussian  blue 

560 —  4/10  oz.  lamp  black 

2  oz.  medium  chrome  yellow 

561 —  Yz  oz.  lamp  black 

12%  oz.  medium  chrome  yellow 
14  oz.  medium  chrome  green 

562 —  12  lbs.  7  3/10  oz.  French  ochre 

1  lb.  1  oz.  lamp  black 

2  lbs.  4  oz.  Venetian  red 

563 —  3  oz.  lamp  black 

1  lb.  6%  oz.  Prussian  blue 
1  lb.  2  oz.  medium  chrome  grten 

564 —  lYz  oz.  medium  chrome  yellow 

4  oz.  Venetian  red 

565 —  5  lbs.  9  oz.  French  ochre 

2/10  oz.  lamp  black 

566 —  3  oz.  Prussian  blue 

7  oz.  medium  chrome  green 

567 —  1  oz.  Prussian  blue 

Yz  oz.  lemon  chrome  yellow 

568 —  5  lbs.  9  oz.  French  ochre 
1  3/10  oz.  lamp  black 

4  2/10  oz.  Venetian  red 

569 —  1  oz.  Prussian  blue 

570 —  5  oz.  Venetian  red 
1  oz.  Prussian  blue 


10 


TO  FIND  HOW  MUCH  PAINT 

Measure  the  total  distance  around  the  house 
with  a  tape  line,  carrying  it  into  all  the  corners 
and  angles;  multiply  that  distance  by  the  height 
from  the  sill  to  the  eaves.  Multiply  the  width 
of  the  gables  by  half  their  perpendicular  height. 
To  get  the  area  of  porch  floors  and  porch  ceil¬ 
ings,  multiply  the  length  by  the  width.  To  get 
the  area  of  porch  columns,  multiply  the  girth  by 
the  height.  Figure  railings  and  spindle  work  as 
if  they  were  boarded  up  solid  and  had  to  be 
painted  both  sides.  To  get  the  area  of  the  over¬ 
hanging  eaves  and  cornices,  multiply  the  total 
running  length  by  the  width.  All  measurements 
must  be  in  feet.  No  allowance  is  made  for  doors 
and  windows,  since  the  casings  and  the  sash 
must  be  painted  and  since  some  paint  is  re¬ 
quired  for  the  edges  of  the  weather  boards. 
When  the  several  areas  have  been  added,  divide 
the  number  of  square  feet  by  575  to  find  the 
number  of  gallons  for  the  priming  coat,  or  by 
600  to  find  the  number  of  gallons  for  each  ad¬ 
ditional  coat.  These  results  will  be  approxi¬ 
mately  right  for  average  conditions,  but  the 
covering  capacity  of  paint  depends  a  great  deal 
on  the  nature  of  the  surface,  the  smoothness  of 
the  white  lead,  the  formula  it  is  mixed  by  and 
the  way  it  is  brushed  out. 

Materials  to  100  square  feet,  per  coat  (ap¬ 
proximate):  Pure  white  lead,  2  to  2%  lbs.; 
linseed  oil,  %  pint;  turpentine,  *4  pint. 

Complete  specifications  for  all  kinds  of  work, 
interior  and  exterior,  including  painting  of  met¬ 
als,  will  be  sent  on  request. 

For  convenience  and  for  ready  reference  use 
the  following  tables: 

A-FOR  PAINTING  NEW  WORK.  OUTSIDE 


Ingredients  Priming  Second  Third 

coat  coat  coat 

White  Lead . 100  lbs.  100  lbs.  100  lbs. 

Raw  Linseed  Oil  6  gals.  3V2  gals.  4  gals. 

Turpentine  ....  1  gal.  V4  gaL  1  pt. 

Turpentine  Drier  1%  pts.  1  pt.  1  pt. 

Paint  it  makes.  10  gals.  6^  gals.  7  gals. 


It  will  cover..  .5750  sq.  ft.  4000  sq.ft.  4200  sq.  ft. 

B—FOR  RE-PAINTING  OUTSIDE 


Ingredients  First  coat  Second  coat 

White  Lead .  100  lbs.  100  lbs. 

Raw  Linseed  Oil  .  4  gals.  4  gals. 

Turpentine  .  1  gal.  1  pt. 

Turpentine  Drier .  1  pt.  1  pt. 

Paint  it  makes .  8  gals.  7  gals. 

It  will  cover . 4800  sq.  ft.  4200  sq.  ft. 

C-FOR  ONE  GALLON  PAINT,  NEW  WORK,  OUTSIDE 

Priming  Second  Third 
Ingredients  coat  coat  coat 

White  Lead .  10  lbs.  15  lbs.  14 Vi  lbs. 

Raw  Linseed  Oil..  5  pts.  4  pts.  4V6  Pts. 

Turpentine  .  4/5  pt.  3/10  pt.  %  pt. 

Turpentine  Drier.  %  pt.  3/20  pt.  Va  Pt. 


It  will  cover . 575  sq.ft.  600  sq.ft.  600  sq.ft. 


11 


D-FOR  ONE  GALLON  PAINT,  OLD  WORK,  OUTSIDE 


Ingredients  First  coat 

White  Lead  .  12%  lbs. 

Raw  Linseed  Oil...  4  pts. 

Turpentine  .  1  pt. 

Turpentine  Drier...  %  pt. 

It  will  cover .  600  sq.  ft. 


Second  coat 
14%  lbs. 

4%  Pts. 

%  Pt. 

%  Pt. 

600  sq.  ft. 


E-FOR  PAINTING  NEW  WORK,  INSIDE 


Ingredients 
White  Lead  .... 
Raw  Linseed  Oil.. 

Turpentine  . 

Turpentine  Drier.. 
Paint  it  makes... 
It  will  cover . 


Priming  coat 
100  lbs. 

6  gals. 

1  gal. 

1%  pints 
10  gals. 
5750  sq.  ft. 


Second  coat 
100  lbs. 

114  gals. 
114  gals. 

1  pint 
5%  gals. 
3300  sq.  ft. 


F— FOR  FINISHING  COATS,  INSIDE 


Flat  Gloss  Eggshell 

Ingredients  finish  finish  finish 

White  Lead .  100  lbs.  100  lbs.  100  lbs. 

Raw  Linseed  Oil.  1  pt.  3  gals.  3  pts. 

Turpentine  .  1%  gals.  2  pts.  2  gals. 

Turpentine  Drier.  %  pt.  1  pt.  %  pt. 

Paint  it  makes...  4%  gals.  614  gals.  514  gals. 

It  will  cover .  2850  sq.ft.  3600  sq.ft.  3000  sq.ft. 


HELPFUL  HINTS 

Cracking  and  scaling  result  from  undue 
hardness  and  rigidity  in  the  paint  film.  Metal 
and  wood  expand  or  contract  as  temperature 
changes  and  the  paint  coat  must  either  be 
elastic  enough  to  stretch  and  shrink  as  the 
temperature  changes,  or  else  it  has  to  break. 
Paint  made  only  of  pure  white  lead  and  pure 
linseed  oil  is  so  elastic  that  it  will  not  crack. 


Moderate  chalking  need  cause  no  alarm.  It 
is  the  natural  wearing  down  of  the  paint,  and 
it  is  this  characteristic  of  lead  and  oil  that 
provides  a  smooth,  even  surface  for  repainting. 
If  chalking  becomes  excessive  as  a  result  of 
using  too  little  oil  or  oil  of  a  poor  quality,  re¬ 
paint,  using  plenty  of  oil  and  little  or  no 
turpentine. 

To  prevent  the  sagging  or  running  of  pair..:, 
brush  it  out  thoroughly  and  secure  quick  dry¬ 
ing  by  adding  more  drier  and  more  turpentine. 
Running  is  less  likely  to  occur  on  a  flat  or 
dull  than  on  a  glossy  surface. 

Light  spots  often  appear  in  work  where 
lamp  black  is  one  of  the  color  ingredients.  Since 
spotting  appears  worst  where  the  wood  is  most 
porous,  a  good  preventive  is  to  give  the  porous 
places  a  coat  of  linseed  oil  before  applying  the 
first  coat  of  paint.  Where  spotting  has  oc¬ 
curred  brush  over  the  spots  with  linseed  oil 
before  repainting. 

If  there  is  blistering,  due  to  sap  in  the  wood 
or  to  damp  foundations  or  to  leaky  gutters  or  to 
ochre  priming  or  to  having  used  fatty  oil,  first 


12 


find  and  remove  the  cause.  Then  scrape  or 
burn  off  the  blistered  paint  and  prime  anew 
with  a  thin  coat  of  pure  white  lead  mixed  with 
half  linseed  oil,  half  turpentine. 

To  strain  paint  through  cheese-cloth  or  a 
wire  strainer  before  using,  will  be  a  safeguard 
against  lumpy  colors  and  consequent  streaki¬ 
ness.  Paint  also  spreads  further  if  strained. 

Paint  for  roofs  should  not  be  made  heavy, 
as  for  regular  housework,  but  very  thin — a 
mere  stain. 

Touch  up  missed  places  before  the  paint  has 
begun  to  set,  otherwise  the  laps  will  show. 

Moisture  in  wood  is  the  greatest  foe  to  paint. 
Wood  in  new  buildings  is  almost  always  water- 
soaked.  Let  it  dry  before  painting.  Be  equally 
careful  when  repainting.  Wait  for  dry  weather 
and  examine  the  surface  carefully  for  moisture 
before  painting.  Do  not  paint  just  after  a  frost. 

Do  not  be  tempted  by  any  consideration  to 
use  a  substitute  for  pure  linseed  oil.  Plausible 
arguments  are  often  urged,  especially  when 
linseed  oil  is  high  in  price,  why  substitutes 
for  linseed  oil  should  be  used.  But  do  not  be 
misled.  You  risk  the  loss  of  all  your  labor  and 
the  cost  of  all  your  materials  by  using  any 
other  oil. 

Be  sure  to  mix  plenty  of  paint,  both  for  body 
and  trim.  It  is  better  to  have  some  left  than 
to  run  short,  especially  if  you  are  using  a 
tinted  paint.  The  left-over  is  useful  for  paint¬ 
ing  roof  valleys  or  gutters  and  various  odd 
places.  Often  the  body  and  trim  colors  can  be 
thrown  together  for  such  work,  bringing  the 
mass  to  a  neutral  color  by  adding  lamp  black. 

For  priming  yellow  pine  we  recommend  the 
following  formula: 

40  lbs.  Dutch  Boy  red  lead  in  oil. 

60  lbs.  Dutch  Boy  white  lead. 

1 24  gals,  raw  linseed  oil. 

1%  gals,  turpentine. 

y2  gal.  turpentine  japan  drier. 

The  excess  of  turpentine  and  drier  seems  to 
harden  the  gum  in  the  wood,  while  the  red 
lead  helps  make  a  very  hard-drying  film  upon 
which  to  lay  the  body  and  finishing  coats. 


13 


F190 


National  Lead  Co 


I  he  New  Red  Lead 

BY  this  is  meant  red  lead  and  linseed 
oil,  both  of  highest  purity,  ground 
into  a  paste  which  stays  soft 
just  as  white  lead-in-oil  does,  and 
whichcarries  the  Dutch  Boy  trade-mark. 

Put  up  in  this  paste  form,  in  con¬ 
venient  cans  and  kegs,  and  free  from 
the  excessively  rapid  drying  qualities  of 
dry  red  lead,  this  new  red  lead  is  sure 
to  be  useful  to  the  painter  in  many  ways. 

Wherever  metal  requires  painting 
red  lead-in-oil  thinned  with  pure  linseed 
oil  makes  the  ideal  paint,  while  the  facts 
that  it  does  not  get  hard  in  the  pail  and 
that  it  is  easy  to  mix  are  great  advantages. 

Dutch  Boy  red  lead-in-oil  makes  a 
most  desirable  primer  for  all  kinds  of 
lumber,  particularly  pitchy  and  sappy 
hard  wood,  such  as  yellow  pine,  cypress, 
spruce,  etc.  Unless  a  good,  hard 
foundation  is  laid  the  resinous  matter 
in  the  wood  is  likely  to  soften  under 
the  heat  of  the  sun  and  work  its  way 
to  the  surface — a  frequent  cause  of 
scaling  and  cracking  of  outer  coats. 

The  ease  with  which  Dutch  Boy 
red  lead-in-oil  may  be  tinted  makes 
it  easy  to  obtain  favorite  dark  colors  with 
it.  By  mixing  with  it  lamp  black,  chrome 
yellow,  chrome  green  or  prussian  blue 
it  is  possible  to  get  a  wide  variety  of 
browns,  reds  and  olives. 

For  example,  an  ounce  or  two  of 
lampblack  added  to  a  hundred  pounds 
of  red  lead  gives  it  a  light  coffee  color. 
Increasing  the  lampblack  results  in  a 
succession  of  rich  browns.  Results 
from  other  coloring  pigments  are  equally 
interesting.  Where  light  tints  are  de¬ 
sired,  the  finishing  coats  should  be  tinted 
white  lead. 

/Dl  ICM^'wL 

(ri 


